This dictionary is a quick and useful reference source for identifying and understanding the Renaissance art of Italy and northern Europe. Arranged in alphabetical sequence, the more than eight hundred entries provide basic information about topics that were common subjects in painting, sculpture, and decorative arts of the period. Additionally, entries on characteristic schools, techniques, media, and other terminology have been included as background information as well as to provide an art history vocabulary necessary for comprehending or clarifying certain topics. Supplemental information on various related topics is cross-referenced for easy access, and the reader is provided with an even more complete location of topics and other entries with see references and a subject index. As an aid to further study, a list of northern and Italian Renaissance artists, which includes life dates and nationalities, has been included. A bibliography is also provided for further reference.

"Renaissance Art Reconsidered" showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement.
A major new anthology, bringing to life the places, works, media, and issues that define Renaissance art
Ideal for use on Renaissance studies courses and for reference by students of art history
Moves beyond the borders of Italy to consider European, Mediterranean, and post Byzantine art, widening the traditional focus of Renaissance art
Includes letters, treatises, contracts, inventories, and other public documents, many of which are translated into English for the first time in this volume
Showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement, providing crucial insight into the art and the context in which it was produced.

"Sixteenth-Century Italian Art" is a first-rate collection of the major classic and contemporary writings on the Italian Renaissance. Taking a thematic approach, the book exemplifies the traditional concerns of the field and presents arguments in a clear, accessible way.
A stellar collection of 23 classic and recent essays on the art and architecture of this fascinating period in art history
Brings together in a single volume, important literature on sixteenth-century Italian art from the last half century, highlighting major topics of recent art historical studies
Introduces major topics and debates in the field, including pagan mysteries, nature and artifice, the art of the body, and "reformations" of art, theory and practice
Includes new translations of texts never previously published in English
Organized thematically, and features substantial editorial introductions, making this anthology ideal for course use.

Andrea Fulvio's Illustrium imagines and the Beginnings of Classical Archaeology is a study of the book recognized by contemporaries as the first attempt (1517) to publish artifacts from Classical Antiquity in the form of a chronology of portraits appearing on coins. By studying correspondences between the illustrated coins and genuine, ancient coins, Madigan parses Fulvio's methodology, showing how he attempted to exploit coins as historical documents. Situated within humanist literary and historical studies of ancient Rome, his numismatic project required visual artists closely to study and assimilate the conventions of ancient portraiture. The Illustrium imagines exemplifies the range and complexity of early modern responses to ancient artifacts.

Over the course of his career, Andrea del Sarto (1486-1530) created altarpieces rich in theological complexity, elegant in formal execution, and dazzlingly brilliant in chromatic impact. This book investigates the spiritual dimensions of those works, focusing on six highly-significant panels. According to Steven J. Cody, the beauty and splendor of Andrea's paintings speak to a profound engagement with Christian theories of spiritual renewal-an engagement that only intensified as Andrea matured into one of the most admired artists of his time. From this perspective, Andrea del Sarto - Splendor and Renewal in the Renaissance Altarpiece not only shines new light on a painter who has long deserved more scholarly attention; it also offers up fresh insights regarding the Renaissance altarpiece itself.

The contributions include Arnold Victor Coonin, Preface and Acknowledgments; Debra Pincus, "Like a Good Shepherd" A Tribute to Sarah Blake McHam; Amy R. Bloch, Perspective and Narrative in the Jacob and Esau Panel of Lorenzo Ghiberti's "Gates of Paradise"; David Boffa, Sculptors' Signatures and the Construction of Identity in the Italian Renaissance; Meghan Callahan, Bronzino, Giambologna & Adriaen de Vries: Influence, Innovation and the "Paragone"; Arnold Victor Coonin, "The Spirit of Water" Reconsidering the "Putto Mictans" Sculpture in Renaissance Florence; Kelley Helmstutler Di Dio, From Medalist to Sculptor: Leone Leoni's Bronze Bust of Charles V; Phillip Earenfight, "Civitas Florenti a]e" The New Jerusalem and the "Allegory of Divine Misericordia"; Gabriela Jasin, God's Oddities and Man's Marvels: Two Sculptures of Medici Dwarfs; Linda A. Koch, Medici Continuity, Imperial Tradition and Florentine History: Piero de' Medici's "Tabernacle of the Crucifix" at S. Miniato al Monte; Heather R. Nolin, A New Interpretation of Paolo Veronese's "Saint Barnabas Healing the Sick"; Katherine Poole, Medici Power and Tuscan Unity: The Cavalieri di Santo Stefano and Public Sculpture in Pisa and Livorno under Ferdinando I; Lilian H. Zirpolo, Embellishing the Queen's Residence: Queen Christina of Sweden's Patronage of Gian Lorenzo Bernini and Members of His Circle of Sculptors; Sarah Blake McHam's List of Publications. 1st printing. 338 pages. 117 illustrations. Preface, bibliography, index.

"A considerable work of assimilative scholarship and common sense...races along merrily."—The Boston Globe.

Ovid was the most influential and widely imitated of all classical Latin poets. This volume publishes papers delivered at a conference on the Reception of Ovid in March 2013, jointly organised by the Institute of Classical Studies and the Warburg Institute, University of London. It presents studies of the impact of Ovid's work on Renaissance commentators, on neo-Latin poetry and epistolography, on Renaissance engravers, on poets like Dante, Mantuan, Pontano, Ariosto, Tasso, Spenser, Lodge, Weever, Milton and Cowley and on artists including Correggio and Rubens. The main focus of the volume is inevitably the afterlife of the Metamorphoses but it also includes discussions of the impact of Heroides, Fasti, and Ibis, and publishes for the first time a Latin verse life of Ovid composed around 1460 by Bernardo Moretti. Contributors are Helene Casanova-Robin, Frank T. Coulson, Fatima Diez-Plazas, Ingo Gildenhard, Philip Hardie, Maggie Kilgour, Gesine Manuwald, Elizabeth McGrath, John Miller, Victoria Moul, Caroline Stark, and Herica Valladares.

Nicholas Hilliard has helped form our ideas of the appearance of Elizabeth I, Mary Queen of Scots, Sir Francis Drake and James I among others. His painted works open a remarkable window onto the highest levels of English/British society in the later years of the sixteenth and the early years of the seventeenth century, the Elizabethan and Jacobeans ages. In this book Karen Hearn gives us an intimate portrait of Nicholas Hilliard, his life, his work and the techniques he used to produce his exquisite miniatures. Karen Hearn is curator of Sixteenth and Seventeenth-Century Art at the Tate Britain. She has written on Marcus Gheeraerts II, Dynasties: Painting in Tudor and Jacobean England 1530-1630 and In Celebration: The Art of the Country House.

In the past decade, there has been a surge of Anglophone scholarship regarding Spain in the sixteenth and seventeenth centuries, which has led to a reframing of the discourses around Spanish culture of this period. Despite this new interest-in which painting, in particular, has been singled out for treatment-a comprehensive study of sculpture collections and the status of sculpture in Spain has yet to be produced. Sculpture Collections in Early Modern Spain is the first book to assess the phenomenon of sculpture collecting and in doing so, it alters the previously held notion that Spanish society placed little value in this art form. Di Dio and Coppel reveal that, due to the problems and expense of their transport from Italy, sculptures were in fact status symbols in the culture. Thus they were an important component of the collections formed by the royal family, cultivated noble collectors, humanists, and artists who had pretensions of high status. This book is especially useful to specialists for its discussion of the typologies of collections and objects, and of the mechanics of state gifts, transport, and collection display in this period. An appendix presents extensive archival documentation, most of which has never before been published. The authors have uncovered hundreds of new documents about sculpture in Spain; and new documentary evidence allows them to propose several new identifications and attributions. Firmly grounded in extensive archival research, Sculpture Collections in Early Modern Spain redefines the socio-political and art historical importance of sculpture in early modern Spain. Most importantly, it entirely transforms our knowledge regarding the presence of sculpture in a wide range of Spanish collections of the period, which until now has been erroneously characterized as close to non-existent.

The emblem was big business in early-modern Europe, used extensively not only in printed books and broadsheets, but also to decorate pottery, metalware, furniture, glass and windows and numerous other domestic, devotional and political objects. At its most basic level simply a combination of symbolic visual image and texts, an emblem is a hybrid composed of words and picture. However, as this book demonstrates, understanding the precise and often multiple meaning, intention and message emblems conveyed can prove a remarkably slippery process. In this book, Peter Daly draws upon many years' research to reflect upon the recent upsurge in scholarly interest in, and rediscovery of, emblems following years of relative neglect. Beginning by considering some of the seldom asked, but important, questions that the study of emblems raises, including the importance of the emblem, the truth value of emblems, and the transmission of knowledge through emblems, the book then moves on to investigate more closely-focussed aspects such as the role of mnemonics, mottoes and visual rhetoric. The volume concludes with a review of some perhaps inadequately considered issues such as the role of Jesuits (who had a role in the publication of about a quarter of all known emblem books), and questions such as how these hybrid constructs were actually read and interpreted. Drawing upon a database containing records of 6,514 books of emblems and imprese, this study suggests new ways for scholars to approach important questions that have not yet been satisfactorily broached in the standard works on emblems.

Scion of an artistic dynasty, Giovanni Bellini is arguably the greatest Venetian painter of the early Renaissance. His astonishing naturalism revolutionised altarpiece painting and is still a source of wonder, as any visit to Frari in Venice will confirm. Most of what we know about this great artist comes from the earliest biographies by Vasari and Ridolfi printed here - the Ridolfi never before translated into English. A different and very personal insight is given by extensive correspondence with Bellini's great but neglected patron Isabella d'Este.

How and why did a medieval female saint from the Eastern Mediterranean come to be such a powerful symbol in early modern Rome? This study provides an overview of the development of the cult of Catherine of Alexandria in Renaissance Rome, exploring in particular how a saint's cult could be variously imaged and 'reinvented' to suit different eras and patronal interests. Cynthia Stollhans traces the evolution of the saint's imagery through the lens of patrons and their interests-with special focus on the importance of Catherine's image in the fashioning of her Roman identity-to show how her imagery served the religious, political, and/or social agendas of individual patrons and religious orders.

Despite the large number of monumental Last Supper frescoes which adorn refectories in Quattrocento Florence, until now no monograph has appeared in English on the Florentine Last Supper frescoes, nor has any study examined the perceptions of the original viewers. This study examines the rarely considered effect of gender on the profoundly contextualized perceptions of the male and female religious who viewed the Florentine Last Supper images in surprisingly different physical and cultural refectory environments. In addition to offering detailed visual analyses, the author draws on a broad spectrum of published and unpublished primary materials, including monastic rules, devotional tracts and reading materials, the constitutions and ordinazioni for individual houses, inventories from male and female communities and the Convent Suppression documents of the Archivio di Stato in Florence. By examining the original viewers' attitudes to images, their educational status, acculturated pieties, affective responses, levels of community, degrees of reclusion, and even the types of food eaten in the refectories, Hiller argues that the perceptions of these viewers of the Last Supper frescoes were intrinsically gendered.